Doctor Dolittle | Children's Books Wiki | Fandom powered by Wikia The database needs some new entries! This article has an excess of red links in it. Please create new articles from these links. Description Hugh Lofting 's Doctor Dolittle series are sories about Doctor Dolittle and the animals he kept. He loved animals, but when Polynesia the parrot taught him to talk to the animals he liked them better than ever. He was totally unbothered by how much money he had, once going on a journey to Africia to escape the fact that he had no money. There are 12 books about Doctor Dolittle. Each book has him doing something different with his wonderful collection of animals. Reader's Reviews Please add your review here. Books in the series The Story of Doctor Dolittle (1920) began the series. The sequel The Voyages of Doctor Dolittle (1922) won the prestigious Newbery Medal.

The next three, Doctor Dolittle's Post Office , (1923), Doctor Dolittle's Circus (1924) and Doctor Dolittle's Caravan (1926) are all actually prequels (or "midquels", as they take place during the events of The Story of Doctor Dolittle ). Five more followed, and after Lofting's death two more volumes, composed of short unpublished pieces, appeared. The books, in order of publication, are: Just Imagine It: Doctor Dolittle Talks to the Animals in Touring Musical, Launching Aug. 2 | Playbill Just Imagine It: Doctor Dolittle Talks to the Animals in Touring Musical, Launching Aug. 2 By Kenneth Jones Aug 02, 2005 Expect snorts, squeaks and squawks at the Benedum Center in Pittsburgh Aug. 2. That's where Pittsburgh CLO is launching the American stage premiere of the musical Doctor Dolittle. Tom Hewitt as the title character in Doctor Dolittle (Photo by Joan Marcus) Songwriter and librettist Leslie Bricusse met with the company of the new show in recent rehearsals toward the bow in Pittsburgh.

A multi-city tour follows, and Bricusse told Playbill.com he hopes it eventually gets a run in New York City. As previously reported by Playbill.com, this version of the tale is markedly different than a staging of the property that emerged in London in recent years. The stage show is based on the 1967 Academy Award-nominated film of the same name, which has Rex Harrison as the distracted, misanthropic physician who got along better with animals than people. He changed disciplines and became a brilliant veterinarian, with the help of his parrot, Polynesia, who taught him all the animal languages. The song "(If We Could) Talk to the Animals" won an Oscar for Best Song. Tony Award nominee Tom Hewitt ( The Rocky Horror Show ) is the good doctor in the new production, directed by Glenn Casale (who staged Cathy Rigby's Peter Pan ). Performances play Pittsburgh to Aug. 14. The company members play both humans and animals, donning special costumes and using special puppetry techniques unique to this staging (Michael Curry is the effects design, Ann Hould-Ward the costume designer).

When it played London, a different version of the show used flashier "animatronics" by the Jim Henson workshop designed to wow audiences in a cavernous theatre; this version is more human size — and thus more immediate and much warmer, Bricusse said. Nancy Anderson (Broadway's Wonderful Town, A Class Act) is Emma Fairfax/Fox; Tony Yazbeck (Broadway's Oklahoma! and Gypsy ) is Matthew Mugg (the Irishman played in the movie by Anthony Newley); Ed Dixon (Broadway's Les Misérables, The Iceman Cometh, Off-Broadway's recent Under the Bridge) is circus impresario Albert Blossom; Eric Michael Gillett is General Bellows/Straight Arrow; Shadoe Alan Brandt is Tommy Stubbins/Duck and Susan J. Jacks is Polynesia. The Equity company includes Mark Aldrich (County Clerk), Matt Allen (Toggle the horse), Jason Babinsky (Chee-Chee the chimpanzee), Jenna Coker (Gub-Gub the pig), Ellen Harvey (Gertie Blossom), William B. Hubert, II (Policeman), Michael D.

Jablonski (Ensemble), Ryan Jackson (Ensemble), Naomi Kakuk (Pushmi-Pullyu), Ian Knauer (Policeman), Brittany Marcin (Pushmi-Pullyu), Michael McGurk (Jip the dog), Christy Morton (Ensemble), Kathleen Nanni (Sophie the seal), Mahri Relin (Mildred the cow), Drew Taylor (Bailiff), and Elisa Van Duyne (Giant Lunar Moth). Alexa Glover and Thom Graham are the swings. Full company rehearsals for the cast of 26 began June 28 in New York City. The show teched in Owensboro, KY. Here's how the producers characterize the show: "In Doctor Dolittle, the small town of Puddleby, England finds itself in the middle of the most sensational trial of the century as Doctor Dolittle stands accused of murder. Insisting that he can actually talk to the animals, the doctor defends himself against charges that he threw an unknown woman off a cliff to her death.

With only his faithful parrot, Polynesia (the finest animal linguist in the world), a devoted friend, Matthew Mugg, an innocent boy, Tommy, and a menagerie of animals to support his story, the good doctor tries to convince the court, led by his arch-enemy General Bellowes, that he did not murder anyone. As Doctor Dolittle tells his story to the court, we encounter a myriad of other colorful characters including Emma Fairfax, General Bellowes' outspoken niece, Albert Blossom, the proprietor of a local circus and a host of hilarious animals who have turned to Dolittle for some form of assistance." * The CLO-produced national tour will include the stage magic of designer Michael Curry, known for puppetry and visual effects on Disney and Cirque du Soleil projects. Scott Ellis (Twelve Angry Men) is "artistic consultant" for the project. Tony Award-winner Rob Ashford ( Thoroughly Modern Millie ) choreographs. Ashford is a former Pittsburgh CLO dancer who graduated from Point Park College in Pittsburgh. Casale previously told Playbill.com that the Doctor Dolittle team wanted to avoid an overly simple children's-story narrative that might offer little tension.

Unlike any other version of the tale, the show starts off with something high-stakes: Dolittle on trial for his very life, charged with murder. Kenneth Foy, whose work has been seen at opera houses, on Broadway and in resident and touring houses, is scenic designer. Broadway's Ken Billington (The Search for Signs of Intelligent Life in the Universe, Dance of the Vampires) designed the lighting. Orchestrations are by Kim Scharnberg (Little Women, Jekyll & Hyde). Michael Duff is music director. Sam Lutfiyya is music coordinator, David Chase is dance arranger, Paul Rubin is flying choreographer, David H. Lawrence is hair designer. Costume designer Ann Hould-Ward (Broadway's Into the Woods, Beauty and the Beast, Falsettos, Dance of the Vampires) has created costumes for the famous veterinarian, his romantic interest Emma, and a supporting cast of puppeteer-actors who will be dressed in Victorian garb while manipulating creatures.

In the tradition of The Lion King, actors will often be in plain view as they perform their animal characters, including a monkey, a giant lunar moth, the famous two-headed llama known as the Pushmi-Pullu, the parrot Polynesia, a lumbering horse, a tap-dancing dog and more. Pittsburgh CLO executive producer Van Kaplan's mission includes finding and developing new works for his audience. It was his idea to explore and reinvent the show. As a soldier in World War I, producer Kaplan said, author Hugh Lofting was witness to mustard gas attacks and saw the wounded men taken to hospitals, while the poisoned horses were shot. "This had a big effect on him," Kaplan said. "That's where he got the idea and inspiration to write 'Dr. Dolittle.' Animals are as important as humans: They have souls, they are beings, they're creatures just like we are, so why would they be treated any differently?" The presence of actors behind the creatures underlines the idea that all creatures great and small have a "life force." "These animals have souls, so we will create souls with each one," Kaplan said.

"The operators will sometimes be seen and sometimes not, through lighting effects." The production does not mirror the production created for U.K. audiences in 1998, though the basic story remains. To improve on it, "what we decided to do is go back to the original source material, which nobody knows," Kaplan said. He explained, "The great thing about Doctor Dolittle is that it's a brand. Eddie Murphy made it a household name again. So we have a brand that really needs no explanation — you know what it is. But how do we tell the story? How do we make it interesting? How do we get people engaged? We went back to the Hugh Lofting books." For the film, Bricusse "pulled from a number of the books," Kaplan said. "Our story is not in any one book. He did [this plot] for the 1967 movie, and the same basic story remains. The way it's told is completely different." Although Lofting had no formal training as an artist, he was a skilled illustrator whose whimsical (slightly art nouveau) sketches adorned his books. Hould-Ward and Foy's designs echo some of Lofting's original visual ideas.

Nothing about the tour's design sketches indicate that the show is a generic, primary-colors musical comedy — the look is slightly dark, slightly askew. The show curtain offers some examples of Lofting's quirky artwork, and a Victorian proscenium arch is part of the framework of Foy's design. "It's late 1800s, there's a certain style to it," Kaplan said. "It's a little off, a little twisted, a little different. You've never seen anything quite like it." As in the film (which had a screenplay by Bricusse, who wrote the songs, too), Dr. Dolittle is accused of an apparent murder. The show's locations include a jail cell, a court room, the town of Puddleby, a circus, a ship and an exotic island, where a giant sea snail makes an appearance. Kaplan said the show's major engine, like all great musicals, involves romance, despite the fact that Dolittle seems more at home talking to animals than to people. "Part of the storytelling is that Dolittle can't really relate to people," Kaplan said. "He doesn't know how to communicate with people — only animals.

It takes Emma, the female character in the story, to teach him how to relate." The book, music and lyrics for the stage version are by the respected Leslie Bricusse, whose hit songs include "The Candy Man," "Goldfinger" and "What Kind of Fool Am I?," among many more. Kaplan pursued the American rights to the property and got them — and the active participation of writer-composer Bricusse, who wrote a new opening song and worked with Casale to reinvent and improve the storytelling. The show is totally new since its London production and retains none of that version's creative team (save for showbiz legend Bricusse). The cast will tour the musical 45-48 weeks in its first year, playing major markets. Pittsburgh CLO's producing partners are Columbia Artists and The Nederlander Organization .

* Bricusse is no stranger to stage musicals, having collaborated on Jekyll & Hyde; Stop the World — I Want to Get Off; The Roar of the Greasepaint — The Smell of the Crowd and Victor/Victoria, but generations of people know his hit songs from being exposed (as kids) to such family-friendly movies as "Doctor Dolittle" (in which Rex Harrison sang "Talk to the Animals"), "Willy Wonka and the Chocolate Factory" (which included "The Candy Man"), "Scrooge" (known for the haunting "You" and joyous "Thank You Very Much") and the Peter O'Toole-Petula Clark remake of "Goodbye, Mr. Chips" (which offered the romantic ballad "You and I"). With John Barry, he wrote "Goldfinger," and penned a collection of other hits with other writers. "Talk to the Animals" won the Academy Award for Best Song and the Rex Harrison vehicle won a Special Effects Oscar, and was nominated in a number of categories — including Best Picture in a decade when lavish musicals were routinely produced for the screen.

The score of the stage show includes such songs as "When I Look in Your Eyes," "At the Crossroads" and "I've Never Seen Anything Like It." For more information, visit . * Van Kaplan and Pittsburgh CLO have produced several touring productions including the American premiere of Barry Manilow's Copacabana and the world premiere of Casper The Musical starring Chita Rivera , plus the 1998 Joseph and the Amazing Technicolor Dreamcoat with Jodi Benson and the Osmonds. Following the Pittsburgh bow, Doctor Dolittle will play St. Paul's Ordway Theatre (Aug. 16-28), Green Bay's Weidner Center (Sept. 6-11), Memphis' Orpheum Theatre (Sept. 13-18) and Philadelphia's Academy of Music (Sept. 20-25), among many other venues.

For the record, the score the 2005-06 stage show includes the following musical numbers: "Puddleby-on-the-Marsh," "Talk to the Animals," "My Friend the Doctor," "The Vegetarian," "At the Crossroads," "I've Never Seen Anything Like It," "Beautiful Things," "When I Look In Your Eyes," "Like Animals," "You're Impossible," "After Today," "Fabulous Places," "Where are the Words?," "Save the Animals," "Something in Your Smile," "Save the Animals (Reprise)," "The Voice of Protest," "I've Never Seen Anything Like It (Reprise)," "Doctor Dolittle," "My Friend the Doctor (Reprise)." For more information, call (412) 456-6666 or visit . Today’s Most Popular News: Chapter 2: Animal Language | The Story of Doctor Dolittle | Hugh Lofting | Lit2Go ETC The Story of Doctor Dolittle Source: Lofting, H. (1920). The Story of Doctor Dolittle . New York, NY: Frederick A. Stokes Readability: Chicago Lofting, H. (1920).

Chapter 2: Animal Language. The Story of Doctor Dolittle (Lit2Go Edition). Retrieved January 19, 2017, from Lofting, Hugh. "Chapter 2: Animal Language." The Story of Doctor Dolittle. Lit2Go Edition. 1920. Web. < January 19, 2017. Hugh Lofting, "Chapter 2: Animal Language," The Story of Doctor Dolittle, Lit2Go Edition, (1920), accessed January 19, 2017, Next The embedded audio player requires a modern internet browser. You should visit Browse Happy and update your internet browser today! It happened one day that the Doctor was sitting in his kitchen talking with the Cat's–meat–Man who had come to see him with a stomach–ache. "Why don't you give up being a people's doctor, and be an animal–doctor?" asked the Cat's–meat–Man. The parrot, Polynesia, was sitting in the window looking out at the rain and singing a sailor–song to herself. She stopped singing and started to listen.

"You see, Doctor," the Cat's–meat–Man went on, "you know all about animals—much more than what these here vets do. That book you wrote—about cats, why, it's wonderful! I can't read or write myself—or maybe I'D write some books. But my wife, Theodosia, she's a scholar, she is. And she read your book to me. Well, it's wonderful—that's all can be said—wonderful. You might have been a cat yourself. You know the way they think. And listen: you can make a lot of money doctoring animals. Do you know that? You see, I'd send all the old women who had sick cats or dogs to you. And if they didn't get sick fast enough, I could put something in the meat I sell 'em to make 'em sick, see?" "Oh, no," said the Doctor quickly. "You mustn't do that. That wouldn't be right." "Oh, I didn't mean real sick," answered the Cat's–meat–Man. "Just a little something to make them droopy–like was what I had reference to.

But as you say, maybe it ain't quite fair on the animals. But they'll get sick anyway, because the old women always give 'em too much to eat. And look, all the farmers 'round about who had lame horses and weak lambs—they'd come. Be an animal–doctor." When the Cat's–meat–Man had gone the parrot flew off the window on to the Doctor's table and said, "That man's got sense. That's what you ought to do. Be an animal–doctor. Give the silly people up—if they haven't brains enough to see you're the best doctor in the world. Take care of animals instead—THEY'll soon find it out. Be an animal–doctor." "Oh, there are plenty of animal–doctors," said John Dolittle, putting the flower–pots outside on the window–sill to get the rain. "Yes, there ARE plenty," said Polynesia. "But none of them are any good at all. Now listen, Doctor, and I'll tell you something. Did you know that animals can talk?" "I knew that parrots can talk," said the Doctor.

"Oh, we parrots can talk in two languages—people's language and bird–language," said Polynesia proudly. "If I say, 'Polly wants a cracker,' you understand me. But hear this: Ka–ka oi–ee, fee–fee?" "Good Gracious!" cried the Doctor. "What does that mean?" "That means, 'Is the porridge hot yet?'—in bird–language." "My! You don't say so!" said the Doctor. "You never talked that way to me before." "What would have been the good?" said Polynesia, dusting some cracker–crumbs off her left wing. "You wouldn't have understood me if I had." "Tell me some more," said the Doctor, all excited; and he rushed over to the dresser–drawer and came back with the butcher's book and a pencil. "Now don't go too fast—and I'll write it down. This is interesting—very interesting—something quite new. Give me the Birds' A.B.C. first—slowly now." So that was the way the Doctor came to know that animals had a language of their own and could talk to one another.

And all that afternoon, while it was raining, Polynesia sat on the kitchen table giving him bird words to put down in the book. At tea–time, when the dog, Jip, came in, the parrot said to the Doctor, "See, HE'S talking to you." "Looks to me as though he were scratching his ear," said the Doctor. "But animals don't always speak with their mouths," said the parrot in a high voice, raising her eyebrows. "They talk with their ears, with their feet, with their tails—with everything. Sometimes they don't WANT to make a noise. Do you see now the way he's twitching up one side of his nose?" "What's that mean?" asked the Doctor. "That means, 'Can't you see that it has stopped raining?'" Polynesia answered. "He is asking you a question. Dogs nearly always use their noses for asking questions." After a while, with the parrot's help, the Doctor got to learn the language of the animals so well that he could talk to them himself and understand everything they said. Then he gave up being a people's doctor altogether.

As soon as the Cat's–meat–Man had told every one that John Dolittle was going to become an animal–doctor, old ladies began to bring him their pet pugs and poodles who had eaten too much cake; and farmers came many miles to show him sick cows and sheep. One day a plow–horse was brought to him; and the poor thing was terribly glad to find a man who could talk in horse–language. "You know, Doctor," said the horse, "that vet over the hill knows nothing at all. He has been treating me six weeks now—for spavins. What I need is SPECTACLES. I am going blind in one eye. There's no reason why horses shouldn't wear glasses, the same as people. But that stupid man over the hill never even looked at my eyes. He kept on giving me big pills. I tried to tell him; but he couldn't understand a word of horse–language. What I need is spectacles." "Of course—of course," said the Doctor. "I'll get you some at once." "I would like a pair like yours," said the horse—"only green.

They'll keep the sun out of my eyes while I'm plowing the Fifty–Acre Field." "Certainly," said the Doctor. "Green ones you shall have." "You know, the trouble is, Sir," said the plow–horse as the Doctor opened the front door to let him out—"the trouble is that ANYBODY thinks he can doctor animals—just because the animals don't complain. As a matter of fact it takes a much cleverer man to be a really good animal–doctor than it does to be a good people's doctor. My farmer's boy thinks he knows all about horses. I wish you could see him—his face is so fat he looks as though he had no eyes—and he has got as much brain as a potato–bug. He tried to put a mustard–plaster on me last week." "Where did he put it?" asked the Doctor. "Oh, he didn't put it anywhere—on me," said the horse. "He only tried to. I kicked him into the duck–pond." "Well, well!" said the Doctor. "I'm a pretty quiet creature as a rule," said the horse—"very patient with people—don't make much fuss.

But it was bad enough to have that vet giving me the wrong medicine. And when that red–faced booby started to monkey with me, I just couldn't bear it any more." "Did you hurt the boy much?" asked the Doctor. "Oh, no," said the horse. "I kicked him in the right place. The vet's looking after him now. When will my glasses be ready?" "I'll have them for you next week," said the Doctor. "Come in again Tuesday—Good morning!" Then John Dolittle got a fine, big pair of green spectacles; and the plow–horse stopped going blind in one eye and could see as well as ever. And soon it became a common sight to see farm–animals wearing glasses in the country round Puddleby; and a blind horse was a thing unknown. And so it was with all the other animals that were brought to him. As soon as they found that he could talk their language, they told him where the pain was and how they felt, and of course it was easy for him to cure them. Now all these animals went back and told their brothers and friends that there was a doctor in the little house with the big garden who really WAS a doctor.

And whenever any creatures got sick—not only horses and cows and dogs—but all the little things of the fields, like harvest–mice and water–voles, badgers and bats, they came at once to his house on the edge of the town, so that his big garden was nearly always crowded with animals trying to get in to see him. There were so many that came that he had to have special doors made for the different kinds. He wrote "HORSES" over the front door, "COWS" over the side door, and "SHEEP" on the kitchen door. Each kind of animal had a separate door—even the mice had a tiny tunnel made for them into the cellar, where they waited patiently in rows for the Doctor to come round to them. And so, in a few years' time, every living thing for miles and miles got to know about John Dolittle, M.D. And the birds who flew to other countries in the winter told the animals in foreign lands of the wonderful doctor of Puddleby–on–the–Marsh, who could understand their talk and help them in their troubles.

In this way he became famous among the animals—all over the world—better known even than he had been among the folks of the West Country. And he was happy and liked his life very much. One afternoon when the Doctor was busy writing in a book, Polynesia sat in the window—as she nearly always did—looking out at the leaves blowing about in the garden. Presently she laughed aloud. "What is it, Polynesia?" asked the Doctor, looking up from his book. "I was just thinking," said the parrot; and she went on looking at the leaves. "What were you thinking?" "I was thinking about people," said Polynesia. "People make me sick. They think they're so wonderful. The world has been going on now for thousands of years, hasn't it? And the only thing in animal–language that PEOPLE have learned to understand is that when a dog wags his tail he means 'I'm glad!'—It's funny, isn't it? You are the very first man to talk like us. Oh, sometimes people annoy me dreadfully—such airs they put on—talking about 'the dumb animals.' DUMB!—Huh!

Why I knew a macaw once who could say 'Good morning!' in seven different ways without once opening his mouth. He could talk every language—and Greek. An old professor with a gray beard bought him. But he didn't stay. He said the old man didn't talk Greek right, and he couldn't stand listening to him teach the language wrong. I often wonder what's become of him. That bird knew more geography than people will ever know.—PEOPLE, Golly! I suppose if people ever learn to fly—like any common hedge–sparrow—we shall never hear the end of it!" "You're a wise old bird," said the Doctor. "How old are you really? I know that parrots and elephants sometimes live to be very, very old." "I can never be quite sure of my age," said Polynesia. "It's either a hundred and eighty–three or a hundred and eighty–two. But I know that when I first came here from Africa, King Charles was still hiding in the oak–tree—because I saw him.

He looked scared to death." The Story of Doctor Dolittle, by Hugh Lofting; Animal Language Page 3 More by this Author "Did you hurt the boy much?" asked the Doctor. "Oh, no," said the horse. "I kicked him in the right place. The vet's looking after him now. When will my glasses be ready?" "I'll have them for you next week," said the Doctor. "Come in again Tuesday--Good morning!" Then John Dolittle got a fine, big pair of green spectacles; and the plow-horse stopped going blind in one eye and could see as well as ever. And soon it became a common sight to see farm-animals wearing glasses in the country round Puddleby; and a blind horse was a thing unknown. And so it was with all the other animals that were brought to him. As soon as they found that he could talk their language, they told him where the pain was and how they felt, and of course it was easy for him to cure them. Now all these animals went back and told their brothers and friends that there was a doctor in the little house with the big garden who really WAS a doctor.

And whenever any creatures got sick--not only horses and cows and dogs--but all the little things of the fields, like harvest-mice and water-voles, badgers and bats, they came at once to his house on the edge of the town, so that his big garden was nearly always crowded with animals trying to get in to see him. There were so many that came that he had to have special doors made for the different kinds. He wrote "HORSES" over the front door, "COWS" over the side door, and "SHEEP" on the kitchen door. Each kind of animal had a separate door--even the mice had a tiny tunnel made for them into the cellar, where they waited patiently in rows for the Doctor to come round to them. We have hundreds more books for your enjoyment. Read them all! And so, in a few years' time, every living thing for miles and miles got to know about John Dolittle, M.D. And the birds who flew to other countries in the winter told the animals in foreign lands of the wonderful doctor of Puddleby-on-the-Marsh, who could understand their talk and help them in their troubles.

In this way he became famous among the animals-- all over the world--better known even than he had been among the folks of the West Country. And he was happy and liked his life very much. One afternoon when the Doctor was busy writing in a book, Polynesia sat in the window-- as she nearly always did--looking out at the leaves blowing about in the garden. Presently she laughed aloud. "What is it, Polynesia?" asked the Doctor, looking up from his book. "I was just thinking," said the parrot; and she went on looking at the leaves. "What were you thinking?" "I was thinking about people," said Polynesia. "People make me sick. They think they're so wonderful. The world has been going on now for thousands of years, hasn't it? And the only thing in animal-language that PEOPLE have learned to understand is that when a dog wags his tail he means `I'm glad!'--It's funny, isn't it? You are the very first man to talk like us. Oh, sometimes people annoy me dreadfully-- such airs they put on--talking about `the dumb animals.' DUMB!--Huh!

Why I knew a macaw once who could say `Good morning!' in seven different ways without once opening his mouth. He could talk every language--and Greek. An old professor with a gray beard bought him. But he didn't stay. He said the old man didn't talk Greek right, and he couldn't stand listening to him teach the language wrong. I often wonder what's become of him. That bird knew more geography than people will ever know.--PEOPLE, Golly! I suppose if people ever learn to fly--like any common hedge-sparrow--we shall never hear the end of it!" Kiwi's Angels: Dr. Dolittle and Polynesia QB Scottie's blog (Italian) Dr. Dolittle and Polynesia John Dolittle, MD, is a respected physician and quiet bachelor living with his spinster sister in the small English village of Puddleby-on-the-Marsh. His love of animals grows over the years and his household menagerie eventually scares off his human clientele, leading to loss of wealth. But after learning the secret of speaking to all animals from his parrot Polynesia, he takes up veterinary practice.

His fortunes rise and fall again after a crocodile takes up residence, but his fame in the animal kingdom spreads throughout the world. “The Field Fourth Reader” by Walter Taylor Field, published by Ginn and Co., 1925. Illustration by Marguerite Davis. "Shiver my timbers!" growled Polynesia. Doctor Dolittle's Garden (1927) Too-Too and Polynesia watched from the ridge of the roof. Doctor Dolittle's Garden (1927) Polynesia soared into the air. Doctor Dolittle in the Moon (1928) "Yes," said she, "I was awake several times". Doctor Dolittle in the Moon (1928) "You bet they were not!" grunted Polynesia. Doctor Dolittle in the Moon (1928) An enormous footprint. Doctor Dolittle in the Moon (1928) "You mean you think it was he who sent the signals?" Doctor Dolittle in the Moon (1928) "Tommy, you seem to be getting enormously tall". Doctor Dolittle in the Moon (1928) With a very serious look on her old face.

Doctor Dolittle in the Moon (1928) "Very poor hospitality, I call it". Doctor Dolittle in the Moon (1928) "But grasshoppers!". Doctor Dolittle in the Moon (1928) "Watch out, Tommy!". Doctor Dolittle in the Moon (1928) ___ . ___ Doctor Dolittle is a 1967 musical film directed by Richard Fleischer and starring Rex Harrison, Samantha Eggar, Anthony Newley and Richard Attenborough. It is adapted by Leslie Bricusse from the novel series by Hugh Lofting, primarily The Voyages of Doctor Dolittle, The Story of Doctor Dolittle, and Doctor Dolittle's Circus. Doctor Dolittle is taught by his pet parrot Polynesia how to talk to animals and embarks with his friends on a series of adventures. link: Doctor Dolittle 1967 ___ . ___ Doctor Dolittle (1967) UK 14-track MONO LP for the stage show with words & music by Leslie Bricusse with Alyn Ainsworth and his orchestra, featuring Tony Britton with Christine Yates and Kevin Sheehan.

Tracklisting: Doctor Dolittle - From the Hugh Lofting novels - Writeups.org Height: 5’3” Weight: 150lbs Age: 40+ Eyes: Unknown Hair: Unknown, probably Graying brown Note: Vitals are rough estimates, at best. Feel free to present superior numbers. Powers and Abilities Doctor John Dolittle was originally “just” a brilliant physician, though animals and children were consistently drawn to him (Animal Summoning). After being taught to speak the languages of the animal kingdom by his parrot (Speak with Animals), Dolittle became a brilliant veterinarian, known and respected by animals throughout the world (Omni-Connection). History Read the book. It’s well worth the few hours it’ll take. However A very long time ago, John Dolittle, M.D., loved animals, and allowed all manner of strays to live in his home. When this began to impact the comfort of his clientele, he chose to go hungry, rather than loose the uncared-for animals onto the streets. It was then that Dolittle’s parrot, Polynesia, taught the good doctor how to speak to various types of animals.

The doctor leveraged this newfound skill to become the top veterinarian for many miles around, which became as much of a curse as a boon. For now, animals from far and wide came to stay at Dolittle’s tiny house, draining his resources beyond their straining point. Then, a message came from distant Africa, informing Dolittle that his help was needed in the Land of the Monkeys. Without a thought for himself, he set out for Africa. After a run-in with the king of the Jolliginki, he arrived in time to save a great many of the monkeys, as well as their primate brethren. Dolittle stayed with the apes for quite some time, but eventually left Africa to repay the debts he amassed to fund the expedition. In return for his help, the African animals convinced a unique animal, the two-headed pushmi- pullyu, to accompany the doctor back to Puddleby, so that he would have a source of income in showing the animal. The trip home was not to be simple, though, as the worst of the Pirates of Barbary, the Barbary Dragon, himself, Ben Ali, began ransacking the ship while the doctor and the animals were exploring an island for food.

With the help of some luck, rats, and sharks, though, Dolittle managed to convince the pirate to give up his ways, and also to claim the pirate’s more seaworthy vessel. In a final adventure, a young child was discovered trapped on the new ship, and with the help of many animals across the world (though Jip in particular), the boy’s uncle was located, and the two were returned home. From there, Dolittle and his band of animals left for home, spending some months working with a traveling circus for the experience and money. Upon returning to Puddleby, the doctor repaid his debts, and retired to his home to take care of the animals. Description John Dolittle is mostly undescribed, though we know he is a short, strong, older Caucasian man with an extremely kindly, personable, and avuncular face, who tends to dress conservatively, including a fairly tall hat. Personality Dolittle is a kind, gentle sort, who will do anything to protect the downtrodden, particularly animals. He is also a man of his word, and will uphold any bargain he has made, even if it should take years for him to be able to follow through.

When confronted, however, the good doctor also knows when right is on his side (which is always), and will not back down, and will not negotiate. If necessary, he will threaten, and make certain that he can and will follow through on his threats, should his opponent renege on his end of the bargain. To quote Hugh Walpole on the book: “And then when you read a little further you will discover that the Doctor is not merely a peg on whom to hang exciting and various adventures but that he is himself a man of original and lively character. It is not only that he is quaint but that he is wise and knows what he is about. The reader, however young, who meets him gets very soon a sense that if he were in trouble, not necessarily medical, he would go to Dolittle and ask his advice about it. Dolittle seems to extend his hand from the page and grasp that of his reader, and I can see him going down the centuries a kind of Pied Piper with thousands of children at his heels.” Quotes “But, I like animals better than people !” “Tell me some more.” “Money is a nuisance. We’d all be much better off if it had never been invented.

What does money matter, so long as we are happy ?” “We must have run into Africa ! Dear me, dear me ! Well, we must all swim to land.” “Never lift your foot ’til you come to the stile.” DC Universe History By the numbers, since many fully-intelligent primates came to the Land of the Monkeys to be helped by Dolittle, it seems rather obvious that either the founders of Gorilla City were inspired by Dolittle, and began researching science and technology, or the hyperintelligent gorillas were simply among the creatures healed by Dolittle during his stay, and perhaps even originated the plan for the “Bridge of Apes.” Likewise, his adventures with the Barbary Dragon might have lead to a run-in with one or more of DC’s rich pirate characters. Additionally, as it is implied that Dolittle might be able to learn other special abilities of animals, particularly Jip’s phenomenal sense of smell, there might be a connection between John Dolittle and the Morphogenetic Field, even possibly being manipulated by the same aliens that may have manipulated Buddy Baker many years later. Oh. What’s that ? OK; sure. And, of course, the pushmi-pullyu was Mopee in disguise.

Sharing The links to follow us and/or subscribe to our monthly newsletter are at the bottom of this page. Related Articles Animal Summoning: 00, Speak with Animals: 08 Bonuses and Limitations: Animal Summoning is Always On. Speak with Animals is actually a Skill.

Skills: Artist (Gardening): 03, Gadgetry (Organic): 03, Medicine*: 09, Scientist (Biochemistry): 06 Advantages: Confined H.Q., Iron Nerves, Leadership, Luck, Omni-Connection, Popularity, Scholar (Animal Psychology, Zoology) Connections: Puddleby-on-the-Marsh (Low), Cat’s-meat-Man (High), Land of the Monkeys (High), Unnamed Fishing Village (High) Drawbacks: Age (Old), SIA (Helping Animals), MIA (Pipe Smoking) Equipment: Telescope [BODY 03, Telescopic Vision: 04], Pocket-knife [BODY 05, Claws: 03], Medicine bag [BODY 02, Lab: 06] Pets: Doctor Dolittle had many “pets,” though a more modern storyteller might dub them “animal companions.” Regardless, each had the standard Attributes of an animal of its type, with the noted additions: Polynesia, the parrot [Artist/Actor: 12, Area Knowledge (Africa)] Jip, the dog [Analytical Smell/Tracking Scent: 10, Telesc

opic Vision: 20; Telescopic Vision actually represents the ability to note distant happenings through scent.

It requires a strong wind to carry the smell] Chee-Chee (“Ginger”), the monkey [Area Knowledge (Africa)] Too-Too, the owl [Super-Hearing: 10, X-Ray Vision: 4; X-Ray Vision represents Too-Too’s ability to interpret sounds through solid objects] Dab-Dab, the duck the pushmi-pullyu Design notes In a typical campaign, Dolittle should also have the Enchantment Power at 10 APs or so (Always On), such that the animals he speaks to are reasonably intelligent and eloquent. I chose to ignore this. Another possible variation is to add a few APs of Animal Control and to remove the various animal-related Connections, since all animals Dolittle encounters are willing to do anything for him without question or hesitation. That’s counter to the story concept, though, in my opinion. Previous Statistics Dolittle originally had no Connections, and only the Animal Summoning Power. By the end of the book, Dolittle is quite wealthy, having traveled around, showing the pushmi-pullyu, and probably has far in excess of 15APs of Wealth. What? You don’t have a pushmi-pullyu writeup ?

Sigh Pushmi-pullyu

Question: What was the name of the parrot who taught Doctor Dolittle to talk to the animals?
Answer: POLYNESIA